I don’t remember the first time I met Dayn Perry but it must have been about five years ago now. This was back when he was writing for Baseball Prospectus in addition toFox Sports. We hit it off immediately and have remained pals ever since. Dayn’s got that easy Southern charm that makes for wonderful company. When he told me that he was writing a book about my boyhood hero Reggie Jackson I was more than somewhat eager to see what he’d come up with. We spoke about Reggie and the writing process often while he was working on the book and Dayn went so far as to mention me in the acknowledgements.

Bronx Banter: There are two big biographies out this spring, one of Willie Mays and the other on Hank Aaron. Both books are well over 500 pages and aim to be the definitive work on their subjects. Your book is leaner at 300 pages. What was behind your thinking in making this a trimmer rather than an exhaustive narrative?

Dayn Perry: Part of it was that the publisher wanted me to stay as close as possible to 100,000 words. The initial manuscript I submitted was about 20,000 words longer than the final product, so I undertook some heavy editing toward the end of the process. On another level, though, I wanted a brisk, readable book that included all the important events in Reggie’s life and aspects of his character. My hope is that we’ve achieved that.

BB: You wrote this book without Reggie’s participation. Was that because he didn’t want to talk with you?

DP: On a couple of occasions, I spoke with Reggie’s business manager and requested an interview, but I never received a response. My understanding is that he didn’t want his cooperation to detract from the book he was working on at the time with Bob Gibson and Lonnie Wheeler. That’s understandable, of course.

BB: What, if any, obstacles did it present?

DP: It made it easier because I much enjoy the solitary aspect of writing, and the more of that I’m allowed the better my work is going to be. I still conducted 50 or so interviews for the book, and they made it a better work, I think. But I think of myself more as a writer than a reporter, so the nuts-and-bolts writing–the craft aspect–is the most fulfilling part of the job. Also, I think cooperation with the subject can sometimes lead to a varnishing or leavening of the work, even if it happens unconsciously. Obviously, I had no such concerns. It’s an honest, fact-based account, but I didn’t have to worry about satisfying him at every turn.

BB: Did Reggie prevent anyone from speaking to you?

DP: Not to my knowledge. A number of former teammates of his declined to speak with me once they learned Reggie wasn’t cooperating with the project, but so far as I know he didn’t actively work to undermine my efforts.

BB: There has been so much written about Reggie, particularly during his years in New York. What does your book offer that is new?

DP: My book sheds new light on the Mets’ decision not to draft him and covers his Angels years and retirement for the first time. Some people are going to be familiar with his Oakland years, and even more people are going to be familiar with his New York years. But so much of that time is forgotten or neglected by history. I think the totality of his life–the scope of his life–is something most people haven’t grasped yet.